DOCSLIB.ORG

Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information IBSEN IN CONTEXT Henrik Ibsen, the ‘Father of Modern Drama’, came from a seemingly inauspicious background. What are the key contexts for understand- ing his appearance on the world stage? This collection provides thirty contributions from leading scholars in theatre studies, literary studies, book history, philosophy, music and history, offering a rich interdis- ciplinary understanding of Ibsen’s work, with chapters ranging across cultural and aesthetic contexts including feminism, scientific discov- ery, genre, publishing, music and the visual arts. The book ends by charting Ibsen’s ongoing globalization and gives valuable overviews of major trends within Ibsen studies. Accessibly written, while drawing on the most recent scholarship, Ibsen in Context provides unique access to Ibsen the man, his works and their afterlives across the world. a˚ is Professor of Modern History in the Department of Archeology, History, Religious Studies and Theology at the University of Tromsø – The Arctic University of Norway. He has published on Norwegian cultural and intellectual history in the nineteenth and twen- tieth centuries. The author of the introduction and notes to the critical edition of Ibsen’s letters published in Henrik Ibsens skrifter ( vols., –), he is also the co-author (with Tore Rem) of Ibsen, Scandinavia and the Making of a World Drama (Cambridge, ). is Professor of English Literature and the Director of the interdisciplinary research initiative UiO:Nordic at the University of Oslo. He has published on Victorian literature, book history and the early English language appropriations of Ibsen and has been head of the board of the Centre for Ibsen Studies. He is editor of the new Penguin Classics Ibsen ( vols., –) and the co-author (with Narve Fulsås) of Ibsen, Scandinavia and the Making of a World Drama (Cambridge, ). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information IBSEN IN CONTEXT NARVE FULSÅS University of Tromsø - The Arctic University of Norway TORE REM University of Oslo © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information University Printing House, Cambridge , United Kingdom One Liberty Plaza, th Floor, New York, , USA Williamstown Road, Port Melbourne, , Australia –, rd Floor, Plot , Splendor Forum, Jasola District Centre, New Delhi – , India Anson Road, #–/, Singapore Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/ : ./ © Cambridge University Press This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published A catalogue record for this publication is available from the British Library. Library of Congress Cataloging-in-Publication Data : Fulsås, Narve, – editor. | Rem, Tore, editor. : Ibsen in context / edited by Narve Fulsås, Tore Rem. : Cambridge ; New York, NY : Cambridge University Press, . | Includes bibliographical references and index. : (print) | (ebook) | (hardback) | (paperback) | (epub) : LCSH: Ibsen, Henrik, ––Criticism and interpretation. | Ibsen, Henrik, -–Influence. | Drama–th century–History and criticism. | Norwegian literature–th century–History and criticism. | Dramatists, Norwegian–th century–Biography. : (print) | (ebook) | ./–dc LC record available at https://lccn.loc.gov/ LC ebook record available at https://lccn.loc.gov/ ---- Hardback ---- Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information Contents List of Figures page viii List of Contributors x Preface xv Note on the Text xx Chronology xxi Early Years in Norway Narve Fulsås From Theatre to Book Narve Fulsås Bourgeois Drama Narve Fulsås Genres Mads B. Claudi Realism Derek Miller Theatre Julie Holledge Visual Arts Toril Moi Music Daniel M. Grimley v © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information vi Contents Philosophy Kristin Gjesdal Science Kirsten Shepherd-Barr Feminism Toril Moi Capitalism Alisa Zhulina The Ibsen Book Kamilla Aslaksen Publishing and Readerships Henning Hansen and Maria Purtoft Criticism Ståle Dingstad Celebrity Peter Larsen Copyright Giuliano D’Amico Censorship Tore Rem German Reception Ruth Schor British Reception Tore Rem French Reception Kirsten Shepherd-Barr © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information Contents vii Parodies Mark B. Sandberg Early Globalization Julie Holledge Biographies Ståle Dingstad Academic Responses Erik Bjerck Hagen American Ibsens Dean Krouk Japanese Ibsens Reiko Abe Auestad Chinese Ibsens Chengzhou He Indian Ibsens Krishna Sen Mass Media and Popular Reception Ellen Rees Further Reading Index © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information Figures . Skien. Photographer: Marie Rosenland. Source: Telemark Museum. page . Virtual reconstruction of Komediehuset auditorium, Bergen. Source: Ortelia Interactive Services, digital image by Lazaros Kastanis. Copyright © Julie Holledge. . Auditorium of Den Nationale Scene, Bergen, . Source and photo: The Theatre Archive, University of Bergen. .a Book cover: Gildet paa Solhoug (The Feast at Solhoug) (). Source: Bryggen Antikvariat. .b Book cover: Peer Gynt (). Source: Bryggen Antikvariat. .c Book cover: Vildanden (The Wild Duck) (). Source: Bryggen Antikvariat. .d Book cover: Samlede værker (Collected Works) (). Source: Bryggen Antikvariat. .a Photograph of Ibsen, . Photographer: Peter Petersen. Source: Private Archive , The National Archives of Norway, Oslo. .b Xylograph of Ibsen, . Xylographer: Kanne & Hansen, Leipzig. Source: Illustreret Nyhedsblad, July . . Photograph of Ibsen, . Photographer: Kunstverlag Franz Hanfstängl, Munich. Source: Picture Collection, National Library of Norway, Oslo. . Postcard of Ibsen, c. Photographer: Julius Cornelius Schaarwächter, Berlin, c. Printed by Vereinigte Papierwaaren-Fabriken, S. Krotoschin, Görlitz, c. Source: Private collection. . Photograph of Ibsen in the street, s. Photographer: Carl Størmer. Source: Picture Collection, National Library of Norway, Oslo. viii © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information List of Figures ix . Edvard Munch’s stage design for Ghosts. Photographer: Svein Anderson. Source: Munchmuseet, Oslo. . Scene from the film Nora, Germany . Source: Deutsche Kinemathek. .a Global distribution of A Doll’s House by venue prior to . Graphic: Jonathan Bollen. Source: IbsenStage. .b Global distribution of Hedda Gabler by venue prior to . Graphic: Jonathan Bollen. Source: IbsenStage. .c Global distribution of Rosmersholm by venue prior to . Graphic: Jonathan Bollen. Source: IbsenStage. . Global distribution of Ghosts by venue prior to . Graphic: Jonathan Bollen. Source: IbsenStage. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information Contributors , is Associate Professor of Nordic Literature at Inland Norway University. She has been Researcher at the University of Oslo’s Centre for Ibsen Studies, lecturer in Norwegian at the University of Amsterdam, and Head of Books in Blomqvist Auction House. She has published on Henrik Ibsen, Camilla Collett and Scandinavian book history. is Professor of Japan Studies at the University of Oslo. She has published on modern Japanese literature, as well as on the Japanese reception of Ibsen and on Norwegian and Japanese social policies. Her most recent work, with Alan Tansman and J. Keith Vincent, is an edited special issue on the writer Sôseki Natsume, in English and Japanese (). . is Associate Professor at the Department of Linguistics and Scandinavian Studies at the University of Oslo. He has published on historic perceptions of the poet and the poetic genre, on the didactics of literary history, as well as textbooks on literary theory and literary terminology.
Load more

Recommended publications
  • A Dramatic Poem in Five Acts
    Henrik Ibsen Brand A Dramatic Poem in Five Acts Translated by John Northam I b s e n . n e t 2 0 0 7 Contents PREFACE................................................................................................................3 CHARACTERS .......................................................................................................5 ACT 1.......................................................................................................................6 ACT 2.....................................................................................................................22 ACT 3.....................................................................................................................42 ACT 4.....................................................................................................................64 ACT 5.....................................................................................................................92 NOTES.................................................................................................................133 PREFACE The imposing figure of Brand looms large in Ibsen’s development as a dramatist. The dramatic poem that bears his name links Ibsen’s earlier output with his later emergence as the writer of modern tragedies. Ibsen’s earlier career to date had been more or less equally divided between his poems (see The Collected Poems on this website) and his plays. The poetry shows a restless preoccupation with stanzaic forms: lyrics, odes, sonnets, together with long epic
    [Show full text]
  • Henrik Ibsen 1828-1906
    Sune Berthelsen Menneskeåndens revoltering Henrik Ibsen 1828-1906 Jeg går aldrig ind på at gøre friheden ensbetydende med politisk frihed. Hvad De kalder frihed, kalder jeg friheder; og hvad jeg kalder kampen for friheden er jo ikke andet end den stadige, levende tilegnelse af frihedens idé. Den, der besidder friheden anderledes end som efterstræbelse, han besidder den dødt og åndløst, thi frihedsbegrebet har jo dog det ved sig at det stadigt udvides under tilegnelsen, og hvis derfor nogen under kampen bliver stående og siger: nu har jeg den, - så viser han derved at han netop har tabt den. Ibsen i brev til Georg Brandes, 17/2 1871 Ibsens forfatterskab er på alle måder stort. Hans forfatterskab strakte sig over næsten 50 år, han nåede en verdensomspændende udbredelse, og overfor en lang række af eftertidens kunstneriske udtryksformer fik han kolossal betydning Hans internationale berømmelse kom da han udsendte sine naturalistiske problemdebatterende samtidsdramaer. Væsentlige forudsætninger for Ibsens store gennembrud var Georg Brandes og forlaget Gyldendals direktør Hegel. Om betydningen af de fordringer Georg Brandes havde opstillet for litteraturen i Emigrantlitteraturen (1872), sagde Ibsen: ”Farligere bog kunde aldrig falde i en frugtsommelig digters hænder.” Mens Hegel indtog en mere diskret men ikke mindre vigtig rolle. I samtiden gik vejen til berømmelsens tinder for norske forfattere gennem København. Da Gyldendal blev forlægger for Ibsen begyndte et tæt samarbejde mellem Ibsen og Hegel. For at nå et bredere publikum ønskede Hegel at fremelske et mere universelt præg, bl.a. skulle sproget normaliseres og særnorkse træk udrenses. Den meget oplagsbevidste Ibsen indvilgede straks. Ibsen realiserede med Samfundets Støtter (1877), Et Dukkehjem (1879), Gengangere (1881) og Vildanden (1884) i praksis de teoretiske ideer for det problemdebatterende naturalistiske teater.
    [Show full text]
  • Xia, Liyang Associate Professor at Centre for Ibsen Studies, University
    Xia, Liyang Associate Professor at Centre for Ibsen Studies, University of Oslo Address: Henrik Wergelandshus, Niels Henrik Abels vei 36, 0313 OSLO, Norway Postal address: Postboks 1168, Blindern, 0318 Oslo, Norway Title: A Myth that Glorifies: Rethinking Ibsen’s early reception in China Author responsible for correspondence and correction of proofs: Xia, Liyang 1 A Myth that Glorifies: Rethinking Ibsen’s Early Reception in China Introduction There is a consensus among Ibsen scholars and scholars of Chinese spoken drama that the Spring Willow Society staged A Doll’s House in Shanghai in 1914 (e.g. A Ying / Qian 1956; Ge 1982; Eide 1983; Tam 1984, 2001; He 2004, 2009; Chang 2004; Tian and Hu 2008; Tian and Song 2013). In 2014, when the National Theatre in Beijing staged A Doll’s House to commemorate the centenary of this premiere,1 most of the news reports and theatre advertisements cited the Spring Willow Society’s prior performance.2 Scholars and journalists who write about the history of A Doll’s House in China agree in general not only that the performance took place but that it was the first performance of an Ibsen play in China.3 I myself referred to this performance in my doctoral thesis (Xia 2013). In recent years, however, doubts have emerged not only about the claim that the Spring Willow Society performed A Doll’s House, but that the Society performed any plays by Ibsen. The following scholars have asserted that there is no concrete evidence that the performance of A Doll’s House took place: Seto Hiroshi (2002, 2015), Huang Aihua
    [Show full text]
  • Ibsen På Film | 159 Ibsen-Museet Lørdag Kl
    IBSEN PÅ FILM | 159 IBSEN-MUSEET LØRDAG KL. 13.00 Fra filmen A Doll’s House fra 1973 med Jane Fonda som Nora og David Warner som Torvald Helmer. Regi: Joseph Losey, GB/Frankrike. From the film A Doll’s House from 1973 with Jane Fonda as Nora and David Warner as Torvald Helmer. Directed by Joseph Losey, UK/France. SKUESPILL FOR KAMERA Norsk filminstitutt viser utstillingen «Skuespill for kamera The Norwegian Film Institute is organising the exhibi- – Ibsen på film» på Ibsen-museet i Grimstad under Kort- tion «Ibsen on Screen» at the Ibsen Museum in Grimstad filmfestivalen. Lørdag åpnes utstillingen med en innled- during the Norwegian Short Film Festival. It will open with ning av Ibsen-biograf Robert Ferguson. a lecture by Ibsen biographer Robert Ferguson. I forbindelse med at det i år er hundre år siden Henrik Ibsen døde In connection with this year’s 100th Anniversary of Henrik Ibsen’s viser Norsk filminstitutt et tilbakeblikk på noen av filmproduksjone- death, the Norwegian Film Institute will show a retrospective of ne som har sitt utspring i dramatikerens verk. Utstillingen starter some of the films adapted from the playwright’s work. The exhibi- med Victor Sjöströms filmatisering av Terje Vigen fra 1916. Denne tion opens with Victor Sjöström’s 1916 adaptation of Terje Vigen, filmatiseringen befinner seg i en særstilling, fordi den tar utgangs- unique among the exhibited films because it is adapted from a punkt i et dikt og fordi den er den eneste av Ibsen-filmatiseringene poem. It is also the only Ibsen adaptation that can be said to have som kan sies å ha fått klassikerstatus.
    [Show full text]
  • ÅRSRAPPORT 2010 Senter for Ibsen-Studier
    Årsrapport 2010 – Senter for Ibsen-studier ÅRSRAPPORT 2010 Senter for Ibsen-studier Årsrapport 2010 Senter for Ibsen-studier 1. Hovedmål 2010 Senter for Ibsen-studier har som overordnet mål å styrke Ibsen-forskningen nasjonalt og internasjonalt. Dette gjelder både i omfang og kvalitet. Vi vil arbeide for å befeste vår internasjonale posisjon som det faglige sentrum for Ibsen-forskningen. Resultater 2010 Innrapporteringen til Cristin viser at forskningspubliseringen ved senteret fortsatt er svært god. De ansatte har publisert til sammen ti bøker ved senteret. Syv av bøkene er kommet i rekken av Henrik Ibsens skrifter, (HIS 10, 10k, 15, 15k, 16, 16k og 17). Det er videre utgitt tre bøker der senterets ansatte har vært redaktører. Det er avlagt én doktoravhandling ved senteret, det er publisert åtte artikler i ulike tidsskrifter, ti bidrag til ulike bøker/rapporter, og det er holdt femten konferanseinnlegg eller faglige presentasjoner. Arbeidet med bokutgaven av Henrik Ibsens skrifter er fullført. Den består av 16 doble tekst- og kommentarbind, pluss ett bind som inneholder utgavens edisjonsfaglige retningslinjer (i alt 33 bøker). Arbeidet med den elektroniske utgaven av Henrik Ibsens skrifter ble startet opp i januar. Det er i løpet av høsten utarbeidet en prosjektplan der instituttleder ved ILN er eier, mens senterleder er prosjektleder. Det er endelig laget en prototype med følgende innhold: Gengangere, Et dukkehjem, En folkefiende, Digte, kommentarer til disse og informasjonstekster. Prosjektet om ”Ibsenbiografier” er sluttført og utkom med boken Den biografiske Ibsen i serien Acta Ibseniana, redigert av A. Sæther, S. Dingstad, A. Kittang og A.M. Rekdal. V. Ystad har vært medredaktør og bidratt til boken Kierkegaard, Ibsen og det moderne.
    [Show full text]
  • Ibsen's an Enemy of the People
    Scandinavica Vol 56 No 2 2017 Ibsen’s An Enemy of the People: An Inter-sociocultural Perspective Mitsuya Mori Professor Emeritus, Seijo University Abstract Ibsen’s An Enemy of the People is frequently performed worldwide today. Its popularity must be due to the relevance of the problems depicted therein to the current global context, such as extreme individualism, democracy vs. mobocracy, environmental pollution, manipulation of information, and the conservative education system. An Enemy of the People was the first Ibsen play to be staged in Japan, although it was adapted for the Japanese setting. At the time of its staging, it reflected the then much-debated issue of copper mine pollution in central Japan. Norway and Japan underwent similar processes of modernization in the second half of the nineteenth century, although with a certain time lag. Therefore, in order to properly appreciate An Enemy of the People today, this article examines the play from an inter-sociocultural perspective. Adopting this perspective allows us to demonstrate the continued relevance of Ibsen to our post-modern world. Keywords Ibsen, An Enemy of the People, Ibsen in Japan, environmental pollution, inter-sociocultural perspective 26 Scandinavica Vol 56 No 2 2017 An Enemy of the People is one of the least performed plays of Henrik Ibsen’s mature œuvre (Andersen 1995: 150), most likely because, after The Pillars of Society, it is the least regarded of Ibsen’s realistic plays. In contrast to his other plays, there is no complex psycho- logical investigation of characters or their relationships, nor is there any demonstration of complicated conflicts between characters.
    [Show full text]
  • An Eco-Feminist Reading Of
    An Eco-Feminist Reading of Four Plays of Henrik Ibsen Xujia Zhou Master Thesis in Ibsen Studies UNIVERSITETET I OSLO Summer 2012 Contents 1 Introduction ....................................................................................................................... .1 2 An Enemy of the People ................................................................................................... 12 3 The Wild Duck .................................................................................................................. 26 4 John Gabriel Borkman ..................................................................................................... 43 5 Pillars of Society .............................................................................................................. 54 6 Conclusion ........................................................................................................................ 70 7 Bibliography ..................................................................................................................... 78 II 1 Introduction One thing that has greatly fascinated me about Henrik Ibsen‟s plays is the playright‟s ingenious use of landscapes. As a meticulous dramatist who never overlooks even the smallest detail in his work, Ibsen never made use of any landscape without a concrete purpose behind. Not only different degrees of light and shadow are in many plays indicative of the characters‟ psychological nuances, but also geographical ups and downs, seasonal cliamte changes, etc. always have
    [Show full text]
  • Ibsen - Chronology
    Ibsen - Chronology http://ibsen.nb.no/id/1431.0 1828 Henrik Johan Ibsen born on March 20th in Stockmannsgården in Skien. Parents: Marichen (née Altenburg) and Knud Ibsen, merchant. 1835 Father has to give up his business. The properties are auctioned off. The family moves to Venstøp, a farm in Gjerpen. 1843 Confirmed in Gjerpen church. Family moves to Snipetorp in Skien. Ibsen leaves home in November. Arrives in Grimstad on November 29th to be apprenticed to Jens Aarup Reimann, chemist. 1846 Has an illegitimate child by Else Sophie Jensdatter, one of Reimann’s servants. 1847 Lars Nielsen takes over ownership of the chemist’s, moving to larger premises. 1849 Ibsen writes Catiline. 1850 Goes to Christiania to study for the university entrance examination. Catiline is published under the pseudonym Brynjolf Bjarme. Edits the Students’ Union paper Samfundsbladet and the satirical weekly Andhrimner. First Ibsen staging in history: the one-act The Burial Mound is performed at Christiania Theatre on September 26th. 1851 Moves to Bergen to begin directing productions at Det norske Theatre. Study tour to Copenhagen and Dresden. 1853 First performance of St. John’s Night. 1854 First performance of The Burial Mound in a revised version. 1855 First performance of Lady Inger. 1856 First performance of The Feast at Solhaug. Becomes engaged to Suzannah Thoresen. 1857 First performance of Olaf Liljekrans. Is appointed artistic director of Kristiania Norske Theatre. 1858 Marries Suzannah Thoresen on June 18th. First performance of The Vikings at Helgeland. 1859 Writes the poem "Paa Vidderne" ("Life on the Upland") and the cycle of poems "I billedgalleriet" ("At the Art Gallery").
    [Show full text]
  • Musikk Til Henrik Ibsens Dikterverker
    Kirsti Grinde Musikk til Henrik Ibsens dikterverker NB tema 3 Nasjonalbiblioteket/bokselskap.no Oslo 2017 Kirsti Grinde: Musikk til Henrik Ibsens dikterverker NB tema 3 Nasjonalbiblioteket/bokselskap.no, Oslo 2017 ISBN: 978-82-7965-335-6 (digital, bokselskap.no), 978-82-7965-336-3 (epub), 978-82-7965-337-0 (mobi) ISSN: 2535-3810 Teksten er lastet ned fra bokselskap.no Oppdatert: juli 2020 Forord NB tema er Nasjonalbibliotekets serie for tematiske fagressurser. Den består av emne- og forfatterbibliografier, diskografier, biografier og andre oversikter. Serien gir kvalitetssikrede tematiske innganger til Nasjonalbibliotekets egen samling så vel som til andre relevante samlinger. Med NB tema ønsker Nasjonalbiblioteket å gjøre tilgjengelig ulike emneinnganger til norsk kulturarv til glede for forskning og dokumentasjon og for den allment interesserte. Hver utgave har en introduksjon om innhold, kilder og bakgrunn, samt om de prinsipper som ligger til grunn for utvalg, presentasjonsform m.m. Serien NB tema inneholder bl.a. separate oversikter over melodier til tekster av sentrale forfattere. Nevnes kan Henrik Wergeland (1808–1845), Henrik Ibsen (1828–1906), Bjørnstjerne Bjørnson (1832–1910) og Aasmund Olavsson Vinje (1818–1870). På «sangens vinger» har disse og mange andre diktere nådd ut, gjennom sangsamlinger, lesebøker og romansehefter. Oversiktene er for en del basert på tidligere versjoner som er blitt revidert og supplert i forbindelse med denne nye digitale utgivelsen. De har med andre ord ulik forhistorie og får følgelig i noen grad ulik struktur. Et viktig tildriv for igangsetting av prosjektet var et arbeid utført av Ivar Roger Hansen. Hans bibliografi over musikk knyttet til Knut Hamsuns diktning, Der synger i mig en Tone, kom ut i Nasjonalbibliotekets bibliografi-serie som nr.
    [Show full text]
  • Modern Dramatic Elements in Three Plays by Henrik Ibsen (IBS4390-Master Thesis in Ibsen Studies)
    Modern dramatic elements in three plays by Henrik Ibsen (IBS4390-Master Thesis in Ibsen Studies) Student Supervisor Milica Vasic-Jovanovic Astrid Sæther 1 Contents: Introduction………………………………………………………………………………......1 A Doll’s House………………………………………………………………………….........10 Relationship between man and woman (the issue of idealism)………………………...13 Question of gender………………………………………………………………………..18 Psychological elements in the play…………………………………………………….....24 Aesthetic and psychological function of means of expression………………………….30 The Wild Duck…………………………………………………………………………..........37 Everyday and idealism in the play……………………………………………………....40 Symbolism in the play (the wild duck and the loft)………………………………….....46 The Wild Duck-subtext and metatext…………………………………………………...53 When We Dead Awaken………………………………………………………………...........58 Love as creative inspiration……………………………………………………………...62 Question of artistic creation……………………………………………………………..67 Motif of death…………………………………………………………………………….72 The function of stage space………………………………………………………………75 Conclusion…………………………………………………………………………………...84 References………………………………………………………………………………........89 2 INTRODUCTION A thing that has always interested me about literary art is how I am supposed to read and interpret it, not to mention questions such as: is the way I feel about a work of art similar to the one the author himself had in mind when he created it, or am I missing the essential part of it which is supposed to be the author’s hidden message, and so on and so forth. My dilemmas were to a certain extent cleared
    [Show full text]
  • IBSEN News and Comment the Journal of the Ibsen Society of America Vol
    IBSEN News and Comment The Journal of The Ibsen Society of America Vol. 28 (2008) Phoenix Theatre, New York, An Enemy of the People, page 12 Gerry Goodstein IBSEN ON STAGE, 2008 From the Midwest: Two Minnesota Peer Gynt’s: Jim Briggs 2 From Dublin: The Gate’s Hedda Gabler: Irina Ruppo Malone 6 From New York: the Irish Rep’s Master Builder and the Phoenix’s Enemy: Marvin Carlson 10 From Stockholm: the Stadsteater’s Wild Duck: Mark Sandberg 14 NEWS AND NOTICES Ibseniana: The Rats’ Peer Gynt 16 ISA at SASS, 2009; Amazon’s Ibsen Collection, the Commonweal Ibsen Festival 17 IBSEN IN PRINT Annual Survey of Articles 18 Book Review: Thomas Van Laan on Helge Rønning’s Den Umulige Friheten. Henrik Ibsen og 43 Moderniteten (The Impossible Freedom. Henrik Ibsen and Modernity) The Ibsen Society of America Department of English, Long Island University, Brooklyn, New York 11201 www.ibsensociety.liu.edu Established in 1978 Rolf Fjelde, Founder is a production of The Ibsen Society of America and is sponsored by support from Long Island University, Brooklyn. Distributed free of charge to members of the So- ciety. Information on membership in the Society and on library rates for Ibsen News and Comment is available on the Ibsen Society web site: www.ibsensociety.liu.edu ©2008 by the Ibsen Society of America. ISSN-6171. All rights reserved. Editor, Joan Templeton Editor’s Note: We try to cover important U.S. productions of Ibsen’s plays as well as significant foreign pro- ductions. Members are encouraged to volunteer; please contact me at [email protected] if you are interested in reviewing a particular production.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]